Frases de W. H. Auden

W. H. Auden photo
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W. H. Auden

Data de nascimento: 21. Fevereiro 1907
Data de falecimento: 29. Setembro 1973
Outros nomes: W.H. Auden

Wystan Hugh Auden que escrevia como W. H. Auden, foi um poeta anglo-americano, tido como um dos grandes autores do século XX.Auden cresceu em e perto de Birmingham, em uma família de classe média de profissionais que liam literatura inglesa na Christ Church, em Oxford. Seus primeiros poemas, escritos no final de 1920 e início da década de 1930, alternados estilos modernos de telegráficos e fluentes tradicionais, foram escritas em um tom intenso e dramático, e estabeleceu sua reputação como um poeta político de esquerda e profeta. Ele tornou-se desconfortável nesse papel posteriormente em 1930, e abandonou-a depois que ele se mudou para os Estados Unidos em 1939, onde se tornou um cidadão americano em 1946. Seus poemas em 1940 exploraram temas religiosos e éticos de uma forma menos dramática do que seus trabalhos anteriores, mas ainda combinando formas tradicionais e estilos com novas formas concebidas por Auden para si mesmo. Na década de 1950 e 1960, muitos de seus poemas foram voltados para as formas em que palavras reveladas escondiam as emoções, e ele tomou um interesse particular por escritos libretos de ópera, uma forma ideal para a expressão direta de sentimentos fortes.Para os jovens intelectuais de esquerda ele foi a grande voz da década de 1930, "denunciando os males da sociedade capitalista, mas também alertando para a ascensão do totalitarismo": algumas vezes demasiadamente político, sempre implicitamente radical e incômodo, pela frequência com que lançava mão, em seus poemas, de espiões, bordéis e impulsos reprimidos - sua homossexualidade estava por trás de várias referências pessoais, aparecendo insistentemente em sua poesia. Assim que T. S. Eliot publicou a primeira coletânea de Auden, Poemas , ele foi imediatamente reconhecido como porta-voz de sua geração. Filho de médico, Auden foi educado na Escola Gresham e na Christ Church, em Oxford, onde se tornou o líder de uma "gangue" formada por Stephen Spender, Louis MacNeice e Cecil Day-Lewis . Logo começou a colaborar com um amigo da escola preparatória, Christopher Isherwood, em peças esquerdistas que misturavam farsa e poesia. Em 1939, mudou-se com Isherwood para a América, onde conheceu aquele que se tornaria seu companheiro, Chester Kallman, com quem anos mais tarde escreveu libretos de ópera, incluindo The Rake's Progress, para Stravinsky.

Seu poema Stop all the clocks, cut off the telephone foi utilizado no filme Quatro casamentos e um funeral , de Mike Newell .

„Ser livre é com freqüência estar sozinho.“

—  W. H. Auden

to be free is often to be lonely
Selected poetry of W. H. Auden - Página 57, Volume 102 de Vintage international, Wystan Hugh Auden - Vintage Books, 1971

„O Público e eu sabemos o que toda criança aprende, aqueles a quem se faz mal fazem mal em retorno.“

—  W. H. Auden

I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return
W. H. Auden, em 1 de setembro de 1939, conforme citado em "The centre of things: political fiction from Disraeli to the present‎" - Página 189, de Christopher Harvie - Publicado por Unwin Hyman, 1991, ISBN 0044455925, 9780044455929 - 245 páginas

„Gatos podem ser engraçados, mas têm os modos mais estranhos de mostrar sua alegria. O nosso sempre urinou em nossos sapatos.“

—  W. H. Auden

Cats can be very funny, and have the oddest ways of showing they're glad to see you. Rudimace always peed on our shoes.
citado em Reflections international: the TV & TS magazine‎ - Página 28, de TransEssex (Organization) - Publicado por TransEssex, 1999

„And the poor in their fireless lodgings, dropping the sheets
Of the evening paper: "Our day is our loss, O show us
History the operator, the
Organiser, Time the refreshing river."“

—  W. H. Auden, livro Spain

<p> And the nations combine each cry, invoking the life
That shapes the individual belly and orders
The private nocturnal terror:
"Did you not found the city state of the sponge,<p>"Raise the vast military empires of the shark
And the tiger, establish the robin's plucky canton?
Intervene. Descend as a dove or
A furious papa or a mild engineer, but descend."
Fonte: Spain (1937), Lines 33–44

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„In the course of many centuries a few laborsaving devices have been introduced into the mental kitchen — alcohol, coffee, tobacco, Benzedrine, etc.“

—  W. H. Auden, livro The Dyer's Hand

but these are very crude, constantly breaking down, and liable to injure the cook. Literary composition in the twentieth century A.D. is pretty much what it was in the twentieth century B.C.: nearly everything has still to be done by hand.
"Writing", p. 17
The Dyer's Hand, and Other Essays (1962)

„Some books are undeservedly forgotten; none are undeservedly remembered.“

—  W. H. Auden, livro The Dyer's Hand

"Reading", p. 10
The Dyer's Hand, and Other Essays (1962)

„In most poetic expressions of patriotism, it is impossible to distinguish what is one of the greatest human virtues from the worst human vice, collective egotism.“

—  W. H. Auden, livro Forewords and Afterwords

"C.P. Cavafy", p. 341
Forewords and Afterwords (1973)
Contexto: In most poetic expressions of patriotism, it is impossible to distinguish what is one of the greatest human virtues from the worst human vice, collective egotism.
The virtue of patriotism has been extolled most loudly and publicly by nations that are in the process of conquering others, by the Roman, for example, in the first century B. C., the French in the 1790s, the English in the nineteenth century, and the Germans in the first half of the twentieth. To such people, love of one's country involves denying the right of others, of the Gauls, the Italians, the Indians, the Poles, to love theirs.

„Man … always acts either self-loving, just for the hell of it, or God-loving, just for the heaven of it; his reasons, his appetites are secondary motivations.“

—  W. H. Auden, livro Forewords and Afterwords

Assessing St. Augustine's perspectives in "Augustus to Augustine", p. 37
Forewords and Afterwords (1973)
Contexto: Man … always acts either self-loving, just for the hell of it, or God-loving, just for the heaven of it; his reasons, his appetites are secondary motivations. Man chooses either life or death, but he chooses; everything he does, from going to the toilet to mathematical speculation, is an act of religious worship, either of God or of himself.
Lastly by the classical apotheosis of Man-God, Augustine opposes the Christian belief in Jesus Christ, the God-Man. The former is a Hercules who compels recognition by the great deeds he does in establishing for the common people in the law, order and prosperity they cannot establish for themselves, by his manifestation of superior power; the latter reveals to fallen man that God is love by suffering, i. e. by refusing to compel recognition, choosing instead to be a victim of man's self-love. The idea of a sacrificial victim is not new; but that it should be the victim who chooses to be sacrificed, and the sacrificers who deny that any sacrifice has been made, is very new.

„The mystics themselves do not seem to have believed their physical and mental sufferings to be a sign of grace, but it is unfortunate that it is precisely physical manifestations which appeal most to the religiosity of the mob.“

—  W. H. Auden, livro Forewords and Afterwords

"The Protestant Mystics", p. 72
Forewords and Afterwords (1973)
Contexto: The mystics themselves do not seem to have believed their physical and mental sufferings to be a sign of grace, but it is unfortunate that it is precisely physical manifestations which appeal most to the religiosity of the mob. A woman might spend twenty years nursing lepers without having any notice taken of her, but let her once exhibit the stigmata or live for long periods on nothing but the Host and water, and in no time the crowd will be clamoring for her beatification.

„I do not believe an artist's life throws much light upon his works. I do believe, however, that, more often than most people realize, his works may throw light upon his life.“

—  W. H. Auden, livro Forewords and Afterwords

"The Greatest of the Monsters", p. 247
Forewords and Afterwords (1973)
Contexto: I said earlier that I do not believe an artist's life throws much light upon his works. I do believe, however, that, more often than most people realize, his works may throw light upon his life. An artist with certain imaginative ideas in his head may then involve himself in relationships which are congenial to them.

„The idea of a sacrificial victim is not new; but that it should be the victim who chooses to be sacrificed, and the sacrificers who deny that any sacrifice has been made, is very new.“

—  W. H. Auden, livro Forewords and Afterwords

Assessing St. Augustine's perspectives in "Augustus to Augustine", p. 37
Forewords and Afterwords (1973)
Contexto: Man … always acts either self-loving, just for the hell of it, or God-loving, just for the heaven of it; his reasons, his appetites are secondary motivations. Man chooses either life or death, but he chooses; everything he does, from going to the toilet to mathematical speculation, is an act of religious worship, either of God or of himself.
Lastly by the classical apotheosis of Man-God, Augustine opposes the Christian belief in Jesus Christ, the God-Man. The former is a Hercules who compels recognition by the great deeds he does in establishing for the common people in the law, order and prosperity they cannot establish for themselves, by his manifestation of superior power; the latter reveals to fallen man that God is love by suffering, i. e. by refusing to compel recognition, choosing instead to be a victim of man's self-love. The idea of a sacrificial victim is not new; but that it should be the victim who chooses to be sacrificed, and the sacrificers who deny that any sacrifice has been made, is very new.

„A real book reads us.“

—  W. H. Auden

Reported by Lionel Trilling in "On the Modern Element in Modern Literature", Partisan Review, January-February 1961, p. 15 (reprinted in Trilling's Beyond Culture, 1965): Trilling wrote: "taking the cue of W. H. Auden's remark that a real book reads us, I have been read by Eliot's poems...".
More commonly reported as "a real book is not one that we read but one that reads us". This paraphrase of Trilling's reported quotation first appeared in a review by Robie Macauley of Trilling's Beyond Culture in the New York Times Book Review, 14 November 1965, p. 38: "I must borrow a phrase from Mr. Trilling (who borrows it from W. H. Auden): a real book is not one that we read but one that reads us." The same version, attributed to Auden, appears in Evan Esar, 20,000 Quips & Quotes (1968), p. 87 (with a comma after "we read"). There is no evidence that Auden ever wrote or said this version of the phrase.
Other variations (e.g. "not one that's read" for "not one that we read") seem to be misrecollections of Robie Macaulay's paraphrase.
Reported quotations

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